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| Issue | Title | |
| Vol 6, No 1/Vol 6, no 2 (2011) | 'How you gonna see me now': Recontextualizing metal artists and moral panics | Abstract |
| Brad Klypchak | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | 'I want you to support local metal': A theory of metal scene formation | Abstract |
| Jeremy Wallach, Alexandra Levine | ||
| Vol 11, No 3 (2018) | Experiencing Progressive Rock by Robert G. H. Burns | Abstract |
| Sam Vallen | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | Manele, symbolic geography and music cosmopolitanism in Romania | Abstract |
| Ruxandra Trandafoiu | ||
| Vol 7, No 1 (2012) | A cool reception to the American Beat: The Fleshtones in Britain, 1981–83 | Abstract |
| Philip Kiszely | ||
| Vol 10, No 2 (2015) | A critical survey of museum collections of popular music in the United Kingdom | Abstract |
| Marion Leonard, Robert Knifton | ||
| Vol 11, No 3 (2018) | A history of realistic rock rebellion: Rush, Heidegger and the spirit of authenticity | Abstract |
| Lee Barron | ||
| Vol 8, No 1 (2013) | A mysterious music in the air: cultural origins of the loudspeaker | Abstract |
| Kyle Devine | ||
| Vol 1, No 1 (2004) | A Question of Standards: "My Funny Valentine" and Musical Intertextuality | Abstract |
| Alan Stanbridge | ||
| Vol 13, No 3 (2020) | A sonic step closer: Master-tape preservation at the Alexander Turnbull Library | Abstract |
| Michael Brown | ||
| Vol 11, No 3 (2018) | A tribute to Dave Laing | Abstract |
| Adam Behr | ||
| Vol 11, No 3 (2018) | A tribute to Dave Laing | Abstract |
| Martin Cloonan | ||
| Vol 6, No 3 (2011) | Adopting the rights-based model: Music multinationals and local music industries since 1945 | Abstract |
| Gerben Bakker | ||
| Vol 3, No 2 (2008) | Afraid of Technology?: Major label response to advancements in digital technology | Abstract |
| Aaron Robert Furgason | ||
| ADVANCE ACCESS | Alain-Philippe Durand, ed., Hip-Hop en Français: An Exploration of Hip-hop Culture in the Francophone World. | Abstract PDF |
| James G. McNally | ||
| Vol 2, No 2 (2007) | Allusion and Influence in Elvis Costello | Abstract |
| Dai Griffiths | ||
| Vol 8, No 3 (2013) | An introduction to the music collection at the National Library of Sweden | Abstract |
| Jan Olofsson, Hans Gustafsson, David Brodin | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | Andrew Robson, Austral Jazz: The Localization of a Global Music Form in Sydney. | Abstract |
| Sean Foran | ||
| Vol 9, No 2 (2014) | Another Green World?: Eno, Ireland and U2 | Abstract |
| Noel McLaughlin | ||
| Vol 1, No 1 (2004) | Archiving Ugandan Popular Music | Abstract |
| Joel Isabirye | ||
| Vol 10, No 3 (2015) | Assembling Aarhus West: Glocal rap, genre and heterogeneity | Abstract |
| Mads Krogh | ||
| Vol 7, No 1 (2012) | Authenticity as authenticating—the case of New Orleans jazz revivalism: An approach from grounded theory and social world analysis | Abstract |
| Richard Ekins | ||
| Vol 11, No 2 (2016) | Banning the Beatles: ‘A Day in the Life’ at the BBC and the creation of Radio 1 | Abstract |
| Gordon R. Thompson | ||
| Vol 2, No 1 (2007) | BBC rock music programming on radio and television and the progressive rock audience, 1967–1973 | Abstract |
| David Simonelli | ||
| Vol 3, No 2 (2008) | Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 1653–1705. Farnham, Surrey: Ashgate, 2008. 209 pp. £55.00. ISBN 978 0-7456-6526-7 (hbk) | Details |
| Bruce Johnson | ||
| Vol 5, No 1 (2010) | Bernard Herrmann—‘pop’ composer? | Abstract |
| Edward Green | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture | Abstract |
| Jada Watson | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Black metal: Stone Vengeance sing the thrash metal blues | Abstract |
| Kevin Fellezs | ||
| Vol 8, No 2 (2013) | Bob Dylan and Allen Ginsberg: at Kerouac’s grave, and beyond | Abstract |
| Daniel Karlin | ||
| Vol 8, No 2 (2013) | Bob Dylan: the politics of influence | Abstract |
| Gary Browning | ||
| Vol 4, No 3 (2009) | Bono! Do you ever take those wretched sunglasses off?: U2 and the performance of Irishness | Abstract |
| Noel McLaughlin | ||
| Vol 2, No 3 (2007) | Book review of In Search of the Blues: Black Voices, White Visions by Marybeth Hamilton | Abstract |
| Dave Laing | ||
| Vol 5, No 2 (2010) | Book Review: Andy Bennett and Jon Stratton, eds. Britpop and the English Music Tradition. Ashgate Popular and Folk Music Series. Farnham: Ashgate, 2010. 225 pp. ISBN 978-0-754- 66805-3 (hbk). £55.00 | Details |
| Kari Kallioniemi | ||
| Vol 5, No 2 (2010) | Book Review: Emma Baulch, Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali. Durham and London: Duke University Press, 2007. 226 pp. ISBN 978-0-8223-4115-4 (pbk) $22.95 | Details |
| Emma Baulch | ||
| Vol 5, No 3 (2010) | Book Review: John S. Partington, ed. The Life, Music and Thought of Woody Guthrie: A Critical Appraisal. Aldershot: Ashgate, 2011. 196 pp. ISBN 9-780-754-66955-5. | Details |
| Rory Crutchfield | ||
| Vol 5, No 3 (2010) | Book Review: Sean Campbell, Irish Blood, English Heart: Second-Generation Irish Musicians in England. Cork: Cork University Press, 2011. 260 pp. ISBN: 978-185918-461-5 (hbk). £35.00. ISBN 978-185918-490-5 (pbk). £20.00. | Details |
| Noel McLaughlin | ||
| Vol 8, No 2 (2013) | Borders and lines: seeing and imagining in Dylan | Abstract |
| Robert McColl | ||
| Vol 7, No 2 (2012) | Boys will be boys: re-inhabiting the homosocial sphere of Take That | Abstract |
| David Sanjek | ||
| Vol 7, No 2 (2012) | Breakup and reunion from a psychoanalytic perspective: some ideas from applied Kleinian psychoanalysis | Abstract |
| Tobias Nolte | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | Buildings matter: The recycling of Liverpool’s Whitechapel and the Casbah | Abstract |
| Mike Brocken | ||
| Vol 3, No 1 (2008) | Collections at the IPM | Abstract |
| Robert Strachan | ||
| Vol 4, No 2 (2009) | Compost city: underground music, collapsoscapes and urban regeneration | Abstract |
| Greg Keeffe | ||
| Vol 1, No 3 (2004) | Conflict and collaboration: the press officer/journalist nexus in the British music press of the late 1990s | Abstract |
| Eamonn Forde | ||
| Vol 2, No 1 (2007) | Constructing an avant-garde: Australian popular music and the experience of pleasure | Abstract |
| Jon Stratton | ||
| Vol 2, No 2 (2007) | Constructing histories through material culture: Popular Music, Museums and Collecting | Abstract |
| Marion Leonard | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Continuity and change in popular music curation: Exhibiting the musical past in Liverpool | Abstract |
| Sara Cohen | ||
| Vol 1, No 3 (2004) | Critical negotiations: rock criticism in the Nordic countries | Abstract |
| Ulf Lindberg, Gestur Gudmundsson, Morten Michelsen, Hans Weisethaunet | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Curating exhausted commodities: A case study of We Buy White Albums | Abstract |
| Iain A. Taylor | ||
| Vol 8, No 2 (2013) | Daniel Karlin, The Figure of the Singer. Oxford: Oxford University Press, 2013. 240pp. £35.00. ISBN 978-0-19-921398-6 (hbk). John Hughes, Invisible Now: Bob Dylan in the 1960s. Surrey: Ashgate, 2013. 256 pp. £55.00. ISBN 978-1-4094-3002-5 (hbk). | Details |
| Neil Corcoran | ||
| Vol 4, No 3 (2009) | Dave Laing, Buddy Holly. London: Equinox; Bloomington: Indiana University Press, 2010. 194 pp. ISBN 978-1-84553-627-5 (pbk). | Details |
| Peter Doyle | ||
| Vol 8, No 3 (2013) | David Treece, Brazilian Jive: From Samba to Bossa and Rap. London: Reaktion Books, 2013. 232 pp. ISBN 978-1-7023-085-6. £14.95 (pbk). | Details |
| Holly Holmes | ||
| Vol 9, No 2 (2014) | Diane Pecknold, ed., Hidden in the Mix: The African American Presence in Country Music. Durham, NC: Duke University Press, 2013. 392 pp. $24.89. ISBN 978-082235-163-4 (pbk). | Details |
| Don Cusic | ||
| Vol 3, No 1 (2008) | Diane Pecknold, The Selling Sound: The Rise of the Country Music Industry. Durham NC and London: Duke University Press, 2007. x + 294 pp. ISBN 978-0-8223-4080-5 (pbk). | Details |
| Dave Laing | ||
| Vol 1, No 1 (2004) | Diplomatic Notes | Abstract |
| Graham Carr | ||
| Vol 4, No 1 (2009) | Discovering authenticity? Harry Smith's Anthology of American Folk Music | Abstract |
| Rory Crutchfield | ||
| Vol 1, No 3 (2004) | Down beats and rolling stones:the American jazz press decides to cover rock in 1967 | Abstract |
| Matt Brennan | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Dworkin’s nightmare: Porngrind as the sound of feminist fears | Abstract |
| Lee Barron | ||
| Vol 8, No 2 (2013) | Dylan and pity | Abstract |
| David Punter | ||
| Vol 1, No 1 (2004) | Editor's Introduction | Abstract |
| Robert Strachan | ||
| Vol 11, No 3 (2018) | Editors’ introduction | Abstract |
| Shane Homan, Catherine Strong | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Ektoplazm.com: Psychedelic trance, internet curation and free music distribution | Abstract |
| Christopher David Charles | ||
| ADVANCE ACCESS | Emily Abrams Ansari, The Sound of a Superpower: Musical Americanism and the Cold War. | Abstract PDF |
| Asya Draganova | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | Ewa Mazierska, Popular Viennese Electronic Music, 1990–2015 | Abstract |
| Giacomo Bottà | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | Experiential knowledge: Dance as source for popular music historiography | Abstract |
| Beate Peter | ||
| Vol 7, No 2 (2012) | Explorative, authentic and cohesive: factors contributing to successful boy band reunions | Abstract |
| Anja Löbert | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Extreme music for extreme people? Norwegian black metal and transcendent violence | Abstract |
| Michelle Phillipov | ||
| Vol 11, No 3 (2018) | Following better things: Grammar schools, religion and English rock music in the early 1970s | Abstract |
| Alistair Mutch | ||
| Vol 5, No 3 (2010) | Forgetting and remembering the Bhundu Boys: conditions of memory in popular music | Abstract |
| Mike Jones | ||
| Vol 3, No 1 (2008) | Freya Jarman-Ivens, ed. Oh Boy! Masculinities and Popular Music. London: Routledge, 2007. 304 pp. ISBN 0-415-97821 (pbk). | Details |
| Christine Adams | ||
| Vol 6, No 3 (2011) | From corporates and media to state control: International perspectives on the music business | Abstract |
| Richard Coopey | ||
| Vol 6, No 3 (2011) | From dance bands to radio and records: Pop music promotion in West Germany and the decline of the Schlager genre, 1945–1964 | Abstract |
| Klaus Nathaus | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | From locality to translocality and cosmopolitanism: The rise of the Debrecen alternative–DIY scene | Abstract |
| Zsolt Győri | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | From South to East: Exoticism in Polish popular music of the state socialist period | Abstract |
| Ewa Mazierska | ||
| Vol 10, No 1 (2015) | George Plasketes, ed. Please Allow Me to Introduce Myself: Essays on Debut Albums. Farnham and Burlington: Ashgate, 2013. 250 pp. £80.75. ISBN 9781409441762 (hbk). | Abstract |
| Paula Hearsum | ||
| Vol 8, No 3 (2013) | Georgina Gregory. Send in the Clones. Sheffield: Equinox, 2012. 172pp. £16.99. ISBN 978-1-84553-245-1 (paperback). | Details |
| Sarah Davis | ||
| Vol 4, No 3 (2009) | Gerry Smyth, Music in Irish Cultural History. Dublin: Irish Academic Press, 2009. 196 pp. £40. ISBN 978-0-7165-2984-2 (hbk). | Details |
| Noel McLaughlin | ||
| Vol 3, No 3 (2008) | Ghana and the World Music Boom | Abstract |
| John Collins | ||
| ADVANCE ACCESS | Giacomo Bottà, Deindustrialisation and Popular Music: Punk and ‘Post-Punk’ in Manchester, Düsseldorf, Torino and Tampere. | Abstract PDF |
| Melanie Schiller | ||
| Vol 4, No 2 (2009) | Gigographies: where popular musicians play | Abstract |
| Dave Laing | ||
| Vol 3, No 3 (2008) | Globalization and commercialization of Caribbean music | Abstract |
| Mike Alleyne | ||
| Vol 4, No 1 (2009) | Gordon Stretton: a study in multiple identities | Abstract |
| Jeff Daniels, Howard Rye | ||
| Vol 4, No 3 (2009) | Gordon Thompson, Please Please Me: Sixties British Pop, Inside Out. Oxford and New York: Oxford University Press, 2007. xii + 340 pp. ISBN 978-0-19-533318-3 (hbk). | Details |
| Dave Laing | ||
| Vol 5, No 1 (2010) | Graham St John. Technomad: Global Raving Countercultures. London: Equinox, 2009. 312 pp. ISBN 978-1-84553-626-8 (pbk). £15.00. | Details |
| Hillegonda Rietvelt | ||
| Vol 10, No 1 (2015) | Hard floors, harsh sounds and the northern anti-festival: Futurama 1979–1983 | Abstract |
| Ian Trowell | ||
| Vol 10, No 1 (2015) | Hashtag 0161: Did Bugzy Malone put Manny on the map? | Abstract |
| Kamila Rymajdo | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Heavy metal and the deafening threat of the apolitical | Abstract |
| Niall Scott | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Heavy metal as controversy and counterculture | Abstract |
| Titus Hjelm, Keith Kahn-Harris, Mark Levine | ||
| Vol 7, No 1 (2012) | Helen Reddington. The Lost Women of Rock Music: Female Musicians of the Punk Era (2nd edition). Sheffield: Equinox, 2012. 263 pp. ISBN 978-1-84553-957-3 (pbk). | Details |
| Paula Hearsum | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Hellfest: The thing that should not be? Local perceptions and Catholic discourses on metal culture in France | Abstract |
| Gérôme Guibert, Jedediah Sklower | ||
| Vol 4, No 1 (2009) | Historical approaches to Merseybeat: delivery, affinity and diversity | Abstract |
| Ian Inglis | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | Historical Silences, Musical Noise: Slim Dusty, Country Music and Aboriginal history | Abstract |
| Toby Martin | ||
| Vol 1, No 1 (2004) | Histories and complexities: Popular Music History Writing and Danish Rock | Abstract |
| Morten Michelsen | ||
| Vol 2, No 2 (2007) | Historiography and Complexities: Why is music ‘National’? | Abstract |
| Hans Weisethaunet | ||
| Vol 1, No 1 (2004) | History beings yesterday | Abstract |
| Paul Oliver | ||
| Vol 4, No 3 (2009) | Holly George-Warren, Public Cowboy No 1: The Life and Times of Gene Autry. New York and Oxford: Oxford University Press, 2007. 312 pp. ISBN 13-9780-195372670 (pbk). $17.95. | Details |
| Phil Hardy | ||
| Vol 8, No 3 (2013) | How English became the language of pop in Denmark | Abstract |
| Henrik Smith-Sivertsen | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | How hard is it to remember Bananarama? The perennial forgetting of girls in music | Abstract |
| Lucy Robinson | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | How musical was my valley? Exploring resources and relationships in local popular music-making between 1996 and 2006 | Abstract |
| Anne Cleaton | ||
| Vol 9, No 3 (2014) | Hucklebucking at the tea dances: Irish showbands in Britain, 1959–1969 | Abstract |
| Rebecca S. Miller | ||
| Vol 7, No 1 (2012) | Ian Inglis, ed. Popular Music and Television in Britain. Farnham: Ashgate, 2010. 266 pp. £60.00. ISBN 978-0-7546-6864-0 (hbk). | Details |
| Faye Woods | ||
| Vol 3, No 3 (2008) | Improvised performance in World Music: Finding the violin in unexpected places | Abstract |
| Jonathan Feig | ||
| Vol 13, No 3 (2020) | In my tomb: Unveiling the Beach Boys state historical landmark | Abstract |
| Dale Carter | ||
| Vol 1, No 3 (2004) | Introduction to the Special Issue | Abstract |
| David Laing | ||
| Vol 3, No 3 (2008) | Introduction to the Special Issue | Details |
| Tuulikki Pietilä | ||
| Vol 9, No 1 (2014) | Introduction to the special issue on The Beatles: Nothing you can know that isn’t known? | Abstract |
| Marcus Collins | ||
| Vol 3, No 1 (2008) | Introduction to the special issue: 20 years of the Institute of Popular Music | Abstract |
| Dave Laing | ||
| Vol 10, No 1 (2015) | Introduction to the special issue: Listening to the North of England | Abstract |
| Ewa Mazierska | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | Introduction to the special issue: Lost musical histories—Curating and documenting local popular music-making in the UK | Abstract |
| Paul Carr | ||
| Vol 4, No 2 (2009) | Introduction to the special issue: music, characterization and urban space | Details |
| Sara Cohen, John Schofield, Brett Lashua | ||
| Vol 5, No 1 (2010) | Introduction to the special issue: The music of Bernard Herrmann | Details |
| Dave Laing | ||
| Vol 7, No 2 (2012) | Introduction: making things whole again—the Take That reunion | Abstract |
| Tim Wise | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | Introduction: Sounding out the past | Details |
| Paul Long, Nicholas Gebhardt | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | Introduction: Special Issue on Crossing national borders in Eastern European popular music | Abstract |
| Ewa Mazierska, Zsolt Győri | ||
| Vol 10, No 2 (2015) | Introduction: Special issue on Popular Music and Heritage | Abstract |
| Marion Leonard, Robert Knifton | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Introduction: Why is everything curated these days? Examining the work of popular music curation | Abstract |
| Holly Tessler | ||
| Vol 7, No 2 (2012) | Is any press good press? Framing media content and the reunion(s) of Take That: 2005–2010 | Abstract |
| Maryn J. Edwards | ||
| Vol 3, No 2 (2008) | It was easy, it was cheap, so what?: Reconsidering the DIY principle of punk and indie music | Abstract |
| Pete Dale | ||
| Vol 9, No 2 (2014) | Joel Williamson, Elvis Presley: A Southern Life. Oxford: Oxford University Press, 2015. 368 pp. £25.00. ISBN 978-0-19986-317-4 (hbk). | Details |
| Jon Stewart | ||
| Vol 5, No 1 (2010) | John Szwed. The Man who Recorded the World: A Biography of Alan Lomax. London: William Heinemann, 2010. 438 pp. ISBN 9780434012329. £20.00. | Details |
| Dave Laing | ||
| Vol 13, No 3 (2020) | Jon Stratton, Jon Dale and Tony Mitchell, eds., An Anthology of Australian Albums: Critical Engagements. | Abstract |
| Shane Homan | ||
| ADVANCE ACCESS | Karen Tongson, Why Karen Carpenter Matters. | Abstract PDF |
| Jenny Cubin | ||
| Vol 9, No 3 (2014) | Keeping themselves alive: Identifying and analysing Queen’s musical development, 1973–1980 | Abstract |
| Nick Braae | ||
| ADVANCE ACCESS | Kimberly Kattari, Psychobilly: Subcultural Survival. | Abstract PDF |
| Louise Barrière | ||
| Vol 2, No 3 (2007) | King Tubby meets the Upsetter at the grass roots of dub: Some thoughts on the early history and influence of dub reggae | Abstract |
| Christopher Partridge | ||
| Vol 7, No 2 (2012) | Kirk Curnutt, Brian Wilson. Icons of Pop Music. Sheffield and Bristol, CT: Equinox, 2012. xvi + 176 pp. 11 b&w illustrations, discography, bibliography, index. ISBN-13: 978-1-90804-991-9, £50, $90 (hbk); ISBN-13: 978-1-84553-663-3, £14.99, $24.95 (pbk). | Details |
| Dale Carter | ||
| ADVANCE ACCESS | Kirkland Fulk, ed., Sounds German: Popular Music in Postwar Germany at the Crossroads of the National and Transnational. | Abstract PDF |
| Wolf-Georg Zaddach | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | Laura Niebling, Rockumentary: Theorie, Geschichte und Industrie | Abstract |
| Nathalie Weidhase | ||
| Vol 5, No 1 (2010) | Lessons from Ives: Elements of Charles Ives’s musical language in the film scores and symphonic works of Bernard Herrmann | Abstract |
| Jonathan Waxman | ||
| Vol 9, No 1 (2014) | Let it be? Exploring The Beatles grey market, 1970–1995 | Abstract |
| Holly Tessler | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | Listening again to popular music as history | Abstract |
| Paul Leslie Long, Nicholas Gebhardt | ||
| Vol 4, No 2 (2009) | Low-frequency noise and urban space | Abstract |
| Bruce Johnson | ||
| Vol 6, No 3 (2011) | Making a scene: The Bergen wave in popular music, 1990–2008 | Abstract |
| Stig Tenold | ||
| Vol 11, No 3 (2018) | Making modern music: Rush, Signals and the limits of creative transgression | Abstract |
| Andy Bennett | ||
| Vol 10, No 1 (2015) | Manpool, the musical: Harmony and counterpoint on the Lancashire Plain | Abstract |
| Richard Witts | ||
| Vol 7, No 1 (2012) | Mapping live provisions in Welsh-language rock, 1978–80 | Abstract |
| Craig Owen Jones | ||
| Vol 2, No 3 (2007) | Martin Carthy’s rhythms | Abstract |
| Charles Ford | ||
| Vol 13, No 3 (2020) | Matt Brennan, Kick It: A Social History of the Drum Kit. | Abstract |
| Karlyn King | ||
| Vol 8, No 1 (2013) | Matt Stahl, Unfree Masters: Recording Artists and the Politics of Work. Durham, NC: Duke University Press, 2012. 312 pp. ISBN 978-0-8223-53430 (hbk). | Details |
| Jason Toynbee | ||
| Vol 10, No 3 (2015) | Michael Brocken, The Twenty-First-Century Legacy of The Beatles: Liverpool and Popular Music Heritage Tourism. Aldershot: Ashgate, 2015. 224 pp. £70. ISBN 978-1-47243-399-2 (hbk) | Abstract |
| Marlie Centawer | ||
| Vol 4, No 3 (2009) | Michael Brocken, Other Voices: Hidden Histories of Liverpool’s Popular Music Scenes, 1930s–1970s and Marion Leonard and Robert Strachan, eds, The Beat Goes On: Liverpool, Popular Music and the Changing City | Abstract |
| James McGrath | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | Michael Lasser, City Songs and American Life, 1900–1950 | Abstract |
| Arno van der Hoeven | ||
| Vol 7, No 3 (2012) | Minority language, majority canon | Abstract |
| Sarah Hill | ||
| Vol 8, No 1 (2013) | More than microphoning: capturing the role of the recording engineer from the 1980s to the 1990s | Abstract |
| Steven Parker, Robert Davis | ||
| Vol 7, No 2 (2012) | Multiple damnations: deconstructing the critical response to boy band phenomena | Abstract |
| Mark Duffett | ||
| Vol 2, No 1 (2007) | Music, poetry, and the politics of identity in Réunion Island: an historical overview | Abstract |
| Guillaume Samson, Shawn Pitre | ||
| Vol 7, No 3 (2012) | Natalie Hopkinson, Go-Go Live: The Musical Life and Death of a Chocolate City. Durham, NC: Duke University Press, 2012. 232 pp. ISBN 978-0-8223-5211-2. $22.95 (pbk). | Details |
| Chris Ealham | ||
| Vol 3, No 3 (2008) | Nathan Wiseman-Trowse, Performing Class in British Popular Music. Basingstoke:Palgrave Macmillan, 2008. 208 pp. £50.00. ISBN 978-0-230-21949-6 (hbk). | Details |
| Dave Laing | ||
| Vol 5, No 3 (2010) | National identity versus commerce: an analysis of opportunities and limitations within the Welsh music scene for composers and performing musicians | Abstract |
| Paul Carr | ||
| Vol 3, No 3 (2008) | National versus regional, many versus few: The dilemma facing the collection societies | Abstract |
| Phil Hardy | ||
| Vol 7, No 3 (2012) | Needle Time: The BBC, the Musicians’ Union, popular music, and the reform of radio in the 1960s. | Abstract |
| Richard Witts | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Negotiating the co-curation of an online community popular music archive | Abstract |
| Beate Peter | ||
| Vol 10, No 2 (2015) | Negotiating the values of popular music in the museum: Curatorial process and exhibition narratives in the ABBAWORLD exhibition at the Powerhouse Museum, Sydney | Abstract |
| Gaëlle Crenn | ||
| Vol 4, No 1 (2009) | Nicola Dibben, Björk. London: Equinox, 2009. ix + 221 pp. ISBN 978-0-253-22065-3 (pbk) | Details |
| Chloë Mullett | ||
| Vol 2, No 3 (2007) | Nine lives in the music business: Reg Dwight and Elton John in the 1960s | Abstract |
| Dave Laing | ||
| Vol 10, No 2 (2015) | No two houses of the holy: Creating cultural heritage in Nirvana: Taking Punk to the Masses | Abstract |
| Kathleen Pirrie Adams | ||
| Vol 4, No 2 (2009) | Nowhere man: urban life and the virtualization of popular music | Abstract |
| Paul Graves-Brown | ||
| Vol 7, No 3 (2012) | Peter Hook, Unknown Pleasures: Inside Joy Division. London: Simon & Schuster, 2012. 386 pp. ISBN 978-0-85720-216-1. £20.00 (hbk). ISBN 978-1-84983-360-8. £14.99 (pbk). £9.99 (Kindle). | Details |
| James McGrath | ||
| Vol 7, No 3 (2012) | Peter Tschmuck, Creativity and Innovation in the Music Industry (revised edition). Berlin: Springer, 2012. 303 pp. ISBN 978-3-642-28429-8. £117 (hbk), £36.60 (pbk, first German edition). | Details |
| Phil Hardy | ||
| Vol 9, No 2 (2014) | Phil Ford, Dig: Sound and Music in Hip Culture. Oxford and New York: Oxford University Press, 2013. 336 pp. £19.41. ISBN 978-0-19993-991-6 (pbk). | Details |
| Simon Warner | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Pick out the jams: Curation and independent record shops | Abstract |
| Lee Ann Fullington | ||
| Vol 8, No 1 (2013) | Polyvocality and forgotten proverbs (and persons): Ravi Shankar, George Harrison and Shambhu Das | Abstract |
| Jeffrey W. Cupchik | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | Pompey Pop: A case study of a local music archive | Abstract |
| Dave Allen | ||
| Vol 1, No 1 (2004) | Popular Music and Historiography | Abstract |
| Charles Hamm | ||
| Vol 2, No 1 (2007) | Popular music history on screen: the pop/rock biopic | Abstract |
| Ian Inglis | ||
| Vol 4, No 2 (2009) | Popular music, mapping, and the characterization of Liverpool | Abstract |
| Brett Lashua, Sara Cohen, John Schofield | ||
| Vol 1, No 1 (2004) | Popular Music Resources | Abstract |
| Andy Lineham | ||
| Vol 13, No 3 (2020) | Punk Portugal, 1977–2012: A preliminary genealogy | Abstract |
| Paula Guerra, Andy Bennett | ||
| Vol 1, No 2 (2004) | Q and The Face: Narratives of consumption in the UK music press in the 1980s | Abstract |
| Stephen Hill | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | Recorded Time Listening Again to Popular Music History | Abstract |
| Paul Leslie Long | ||
| Vol 1, No 2 (2004) | Resource Notes | Abstract |
| Andy Linehan | ||
| Vol 2, No 3 (2007) | Resource notes | Abstract |
| Andy Linehan | ||
| Vol 3, No 2 (2008) | Resource notes | Abstract |
| Janne Mäkelä | ||
| Vol 4, No 2 (2009) | Resource notes | Abstract |
| Ditmer Weertman | ||
| Vol 5, No 3 (2010) | Resource notes | Abstract |
| Brian Hickman | ||
| Vol 6, No 3 (2011) | Resource notes | Details |
| Dave Laing | ||
| Vol 7, No 1 (2012) | Resource notes | Details |
| Dave Laing | ||
| Vol 7, No 2 (2012) | Resource notes | Details |
| Andy Linehan | ||
| Vol 8, No 1 (2013) | Resource notes | Details |
| Andy Linehan | ||
| Vol 9, No 1 (2014) | Resource Notes | Abstract |
| Jo Blyghton | ||
| Vol 9, No 2 (2014) | Resource Notes | Abstract |
| Brock Silversides | ||
| Vol 10, No 2 (2015) | Resource notes: Amplifying intangible heritage as a resource for museum narratives | Abstract |
| Rob Horrocks | ||
| Vol 10, No 3 (2015) | Resource notes: Popular music collections at Beinecke Rare Book and Manuscript Library, Yale University | Abstract |
| Timothy Young | ||
| Vol 5, No 2 (2010) | Resource Notes: Rock and pop collecting at the V&A | Abstract |
| Kristian Volsing | ||
| Vol 4, No 1 (2009) | Resource notes: the Rockheim Project in Norway | Abstract |
| Andy Lineham | ||
| Vol 5, No 1 (2010) | Resources & Herrmann research | Details |
| Bill Wrobel | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | (Re-)valuing rock music: Curatorship in the production of garage rock reissue compilation albums | Abstract |
| José Vicente Neglia | ||
| Vol 11, No 2 (2016) | Review article | Abstract |
| Dave Laing | ||
| Vol 2, No 3 (2007) | Review of Bob Dylan by Keith Negus | Abstract |
| Phil Hardy | ||
| Vol 1, No 2 (2004) | Review of Circular Breathing: The Cultural Politics of Jazz in Britain by George McKay | Details |
| Dave Laing | ||
| Vol 2, No 2 (2007) | Review of The Evolution of Jazz in Britain, 1880-1935 by Catherine Parsonage | Details |
| Michael Brocken | ||
| Vol 9, No 3 (2014) | Reviews in brief | Abstract |
| Dave Laing | ||
| Vol 1, No 3 (2004) | Reviews of Speak to Me: The Legacy of Pink Floyd's The Dark Side of the Moon edited by J. Reising and The Music and Art of Radiohead by J. Tate | Details |
| Giles Hooper | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Right time, right place: The British Library’s Punk 1976–78 exhibition | Abstract |
| J. Mark Percival | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | Robert Kronenburg, This Must Be the Place: An Architectural History of Popular Music Performance Venues. | Abstract |
| Sarah Kenny | ||
| Vol 3, No 2 (2008) | Rock around the clock: The record, the film, and the last historic dance revolt | Abstract |
| Terry Monaghan | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | Rock opera and resistance: Stephen, the King as a building block of minority ethnic identity in Transylvania and the United States | Abstract |
| Imola Bülgözdi, Zsófia O. Réti | ||
| Vol 7, No 2 (2012) | Roland Boer, Nick Cave: A Study of Love, Death and Apocalypse. Sheffield and Bristol, CT: Equinox, 2012. 212pp. ISBN 978-1-908049-67-4, £55.00 (hbk); ISBN 978-1- 781790-34-2, £17.00 (pbk). | Details |
| Nathan Wiseman-Trowse | ||
| Vol 7, No 3 (2012) | Ros Jennings and Abigail Gardner, eds, ‘Rock On’: Women, Ageing and Popular Music. Farnham: Ashgate, 2012. 182 pp. ISBN 978-1-4094-2841-1 (hbk). | Details |
| Helen Reddington | ||
| Vol 4, No 3 (2009) | Sam Taylor-Wood, Nowhere Boy (2009). | Details |
| Spencer Leigh | ||
| Vol 6, No 3 (2011) | Samuel Charters. 2009. A Language of Song: Journeys in the Musical World of the African Diaspora. Durham, NC: Duke University Press. 368 pp. ISBN 978-0-8223- 4380-6. £15.99. | Details |
| Dave Laing | ||
| Vol 4, No 3 (2009) | Sarah Hill, ‘Blewytirhwng?’ The Place of Welsh Pop Music. Aldershot and Burlington, VT: Ashgate, 2007. 248 pp. ISBN 978-0-7546-5898-6 (hbk). £50.00. | Details |
| Rebecca Edwards | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Scene and heard: Collecting the Dunedin Sound | Abstract |
| Amanda Patricia Mills | ||
| Vol 4, No 1 (2009) | Scottish indie music and BBC radio’s Beat Patrol (1995–2000) | Abstract |
| J. Mark Percival | ||
| Vol 6, No 3 (2011) | Sean Campbell and Colin Coulter. Why Pamper Life’s Complexities?: Essays on The Smiths. Manchester: Manchester University Press, 2010. ISBN 978-0-7190-7841- 5. £65.00 (hbk). £15.99 (pbk). | Details |
| James McGrath | ||
| Vol 9, No 3 (2014) | Searching for the first bass drum pedal: Rock harmonicas to Viennese pianos | Abstract |
| Paul Archibald | ||
| Vol 1, No 2 (2004) | Showgirls and stars: Black-cast revues and female performersin Britain 1903–1939 | Abstract |
| Howard Rye | ||
| Vol 9, No 2 (2014) | Simon Frith, Matt Brennan, Martin Cloonan and Emma Webster, The History of Live Music in Britain, Volume I: 1950–1967: From Dance Hall to the 100 Club. Farnham: Ashgate, 2013. 236 pp. £95.00. ISBN 978-1-40942-280-8 (hbk). | Abstract |
| Tony Farsides | ||
| Vol 1, No 1 (2004) | "Sing Me a Song of Araby" and "My Blue Heaven": New Folksong, Hybridization and the Expansion of the Japanese Recording Industry in the Late 1920s | Abstract |
| Toru Mitsui | ||
| Vol 5, No 2 (2010) | Skin deep: ska and reggae on the racial faultline in Britain, 1968-1981 | Abstract |
| Jon Stratton | ||
| Vol 8, No 3 (2013) | Soccer sounds: Popular music and football in Britain | Abstract |
| Dave Laing, Andy Linehan | ||
| Vol 9, No 3 (2014) | Songs you know by heart: Alcohol, promiscuous sex, drugs and escape in Jimmy Buffett’s music | Abstract |
| Eve M Brank, Kathleen A Fox, Victoria Kaspar | ||
| Vol 13, No 3 (2020) | Space to play: The sound of British female punk music and its engagement with reggae in the 1970s | Abstract |
| Helen Reddington | ||
| Vol 4, No 2 (2009) | Street ballets in magic cities: cultural imaginings of the modern American metropolis | Abstract |
| Tadhg O'Keeffe | ||
| Vol 7, No 1 (2012) | Sucking in the Seventies? The Rolling Stones and the aftermath of the permissive society | Abstract |
| Marcus Collins | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Suicide solutions? Or, how the emo class of 2008 were able to contest their media demonization, whereas the headbangers, burnouts or ‘children of ZoSo’ generation were not | Abstract |
| Andy R. Brown | ||
| Vol 13, No 1-2 (2020): Special Issue: Popular Music and Curation | Supplementing a typology of curation: Learning from George Harrison and Indian music | Abstract |
| Michael Lewis Jones | ||
| Vol 1, No 3 (2004) | Taste-making and trend-spotting: the folk revival journalism of Robert Shelton | Abstract |
| David Laing | ||
| Vol 3, No 3 (2008) | The Archive of Contemporary Music, New York | Abstract |
| Andy Linehan | ||
| Vol 10, No 1 (2015) | The contrasting soundscapes of Hull and London in David Bowie’s Ziggy Stardust and the Spiders from Mars | Abstract |
| Peter Atkinson | ||
| Vol 9, No 1 (2014) | The creative process of The Beatles revisited: A multi-level analysis of the interaction between individual and collaborative creativity | Abstract |
| Yrjö Heinonen | ||
| Vol 5, No 1 (2010) | The deleted music and scenes from Journey to the Center of the Earth | Abstract |
| Bill Wrobel | ||
| Vol 4, No 3 (2009) | The end of the revival: the folk aesthetic and its ‘mutation’ | Abstract |
| Allan Moore | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | The extreme metal ‘connoisseur’ | Abstract |
| Nicola Allett | ||
| Vol 2, No 1 (2007) | The forgotten decade: rethinking the popular music of the 1970s | Abstract |
| Andy Bennett | ||
| Vol 8, No 3 (2013) | The greatest era of the UK pop music industry: An efficiency perspective | Abstract |
| Lee Yoong Hon | ||
| Vol 10, No 2 (2015) | The heritage obsession: The history of rock and challenges of ‘museum mummification’: A French perspective | Abstract |
| Philippe Le Guern | ||
| Vol 9, No 2 (2014) | The lifetime soundtrack: Music as an archive for autobiographical memory | Abstract |
| Lauren Istvandity | ||
| Vol 3, No 1 (2008) | The Liverpool sounds project: Oral history research at the IPM | Abstract |
| Dave Laing | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | The lost musical histories of Merthyr Tydfil | Abstract |
| Paul Carr | ||
| Vol 6, No 3 (2011) | The making of a Yugoslav popular music industry | Abstract |
| Dean Vuletic | ||
| Vol 8, No 3 (2013) | The making of identity and its relation to place and success: The case of ‘mainstream’ popular music in Newcastle NSW, 1973–1988 | Abstract |
| Gaye Sheather, Phillip McIntyre | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | The meaning of the music venue: Historicizing the Click Club | Abstract |
| Paul Long, Sarah Raine | ||
| Vol 10, No 3 (2015) | The multi-layered transnationalism of Fran Palermo | Abstract |
| Ewa Mazierska, Bence Kránicz | ||
| Vol 11, No 2 (2016) | The names of pop groups in the UK hit parades of the 1960s: Patterns and peculiarities | Abstract |
| Stephen J. Coffey | ||
| Vol 3, No 1 (2008) | The origins and development of The Institute of Popular Music: An interview | Abstract |
| Dave Horn | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | The poetics of recorded time: Listening again to popular music history | Abstract |
| Paul Long | ||
| Vol 4, No 3 (2009) | The production of English rock and roll stardom in the 1950s | Abstract |
| Martin Cloonan | ||
| Vol 2, No 3 (2007) | The record and its label: Identifying, marketing, dividing, collecting | Abstract |
| Richard Osborne | ||
| Vol 5, No 2 (2010) | The role and significance of storytelling in the creation of the ‘post-Sixties’ Beatles, 1970–1980 | Abstract |
| Holly Tessler | ||
| Vol 8, No 1 (2013) | The social construction of a music Mecca: ‘Goin’ home’, New Orleans and international New Orleans jazz revivalism | Abstract |
| Richard Ekins | ||
| Vol 4, No 3 (2009) | The Vaughan Williams Memorial Library | Abstract |
| Andy Lineham | ||
| Vol 4, No 1 (2009) | The vegetables turned: sifting the psychedelic subsoil of Brian Wilson and Syd Barrett | Abstract |
| Dale Carter | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | The ‘double controversy’ of Christian metal | Abstract |
| Marcus Moberg | ||
| Vol 12, No 1 (2019): Special Issue: Lost Musical Histories— Curating and Documenting Local Popular Music-Making in the UK | They preferred to sit on the floor: Rock music in South Wales at a time of industrial change | Abstract |
| Mike Jones | ||
| Vol 9, No 2 (2014) | To f-f-f-ade way?’: The blues influence in Pete Townshend’s search for an authentic voice in ‘My Generation’ | Abstract |
| Kathryn Hill | ||
| Vol 5, No 2 (2010) | To Flood the Basin with Beethoven: The Promethean Aesthetics of Post-World War II FM Concert Stations in the United States | Abstract |
| Tim J. Anderson | ||
| Vol 5, No 2 (2010) | Traditional jazz and the mainstreaming of authenticity: The case of British traddy pop (1959–1963)— a grounded theory approach | Abstract |
| Richard Ekins | ||
| Vol 3, No 3 (2008) | Traditional music and the World Music marketplace: A producer’s experience | Abstract |
| Joe Boyd, | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Triumph of the maggots? Valorization of metal in the rock press | Abstract |
| Hélène Laurin | ||
| Vol 5, No 1 (2010) | Unconscious anchors: Bernard Herrmann’s music for Marnie | Abstract |
| Tom Schneller | ||
| Vol 8, No 2 (2013) | Underestimating Albert: revisiting Albert Grossman’s management of Bob Dylan | Abstract |
| Mike Jones | ||
| Vol 1, No 2 (2004) | University jazz and the Mersey Sound: Student days in Liverpool, a memoir | Abstract |
| Brian Hudson | ||
| ADVANCE ACCESS | Vivien Goldman, Revenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot. | Abstract PDF |
| Judit Csobod | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | Voice of our blood: National Socialist discourses in black metal | Abstract |
| Benjamin Hedge Olson | ||
| Vol 1, No 2 (2004) | Was it really like that?: ‘Rock Island Line’ and the instabilities of causational popular music histories | Abstract |
| Michael Brocken | ||
| Vol 9, No 1 (2014) | We can work it out: Popular and academic writing on The Beatles | Abstract |
| Marcus Collins | ||
| Vol 1, No 3 (2004) | What story should a history of popular music tell? | Abstract |
| Allan Moore | ||
| Vol 8, No 2 (2013) | What’s in a name? Dylan Thomas and Bob Dylan | Abstract |
| David Boucher | ||
| Vol 7, No 2 (2012) | When I becomes we: how prototypically ‘pop’ are a band’s lyrics after one breakup and two reunions? | Abstract |
| Michaela Hilbert | ||
| Vol 3, No 3 (2008) | World Music and the global music industry | Abstract |
| Dave Laing | ||
| Vol 2, No 2 (2007) | Writing jazz biography: race, research and narrative representation | Abstract |
| Tom Perchard | ||
| Vol 7, No 2 (2012) | You can make me whole again: popular music tributes embodying the reunion | Abstract |
| Georgina Gregory | ||
| Vol 5, No 3 (2010) | ‘A West Indian? You must be joking! I come out of the East End’: Kenny Lynch and English racism in the 1950s and 1960s | Abstract |
| Jon Stratton | ||
| Vol 8, No 2 (2013) | ‘Ain’t gonna go to Hell for anybody’: Dylan’s Christian years | Abstract |
| John Hughes | ||
| Vol 11, No 2 (2016) | ‘Black Bob’: His B-flat Bombardon and the Yorkshire Jazz Band | Abstract |
| Val Wilmer | ||
| Vol 5, No 3 (2010) | ‘Girls, girls, girls’?: The Los Angeles metal scene and the politics of gender in Decline of Western Civilization Part II: The Metal Years | Abstract |
| Nedim Hassan | ||
| Vol 10, No 3 (2015) | ‘How Belfast got the blues’: Towards an alternative history | Abstract |
| Noel McLaughlin, Joanna Braniff | ||
| Vol 8, No 2 (2013) | ‘I is somebody else’: Bob Dylan/Arthur Rimbaud | Abstract |
| Kat Peddie | ||
| Vol 7, No 3 (2012) | ‘Immersed in the conflict’: Mike Westbrook’s Marching Song (1969) and the landscape and soundscape of war | Abstract |
| Duncan Heining | ||
| Vol 3, No 2 (2008) | ‘Infected by the seed of postindustrial punk bohemia’: Nick Cave and the milieu of the 1980s underground | Abstract |
| Peter Webb | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | ‘Let us know you’re locked’: Pirate radio broadcasts as historical and musical artefact | Abstract |
| Alex de Lacey | ||
| Vol 4, No 3 (2009) | ‘Mike’Disc-Courses on Hot Jazz: Discursive Strategies in the Writings of Spike Hughes, 1931-33 | Abstract |
| Alf Arvidsson | ||
| Vol 11, No 1 (2016): Special Issue: Crossing national borders in Eastern European popular music | ‘My life is new wave’: Poland, Yugoslav new wave and the transnational sense of connectedness in the early 1980s | Abstract |
| Zlatko Jovanovic | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | ‘On the programme tonight’: The Old Grey Whistle Test as tastemaker for British AOR audiences in the early 1970s | Abstract |
| Andy Bennett | ||
| Vol 10, No 3 (2015) | ‘Only one can rule the night’: Fairs and music in post-1945 Britain | Abstract |
| Ian Trowell | ||
| Vol 1, No 2 (2004) | ‘Rock, roll and remember?’: Addressing the legacy of jazz in popular music studies | Abstract |
| Chris McDonald | ||
| Vol 9, No 1 (2014) | ‘Some kind of innocence’: The Beatles Monthly and the fan community | Abstract |
| Mike Kirkup | ||
| Vol 12, No 2 (2019): Special Issue: Listening again to popular music as history (Part 1) | ‘These stories have to be told’: Chicano rap as historical source | Abstract |
| Dianne Violeta Mausfeld | ||
| Vol 10, No 1 (2015) | ‘They say a town is just a town, full stop, but what do they know?’: Architecture, urbanism and pop in Sheffield | Abstract |
| Owen Hatherley | ||
| Vol 12, No 3 (2019): Special Issue: Listening again to popular music as history (Part 2) | ‘Well-worn grooves’: Music, materiality and biographical memory | Abstract |
| Iain A. Taylor | ||
| Vol 9, No 2 (2014) | ‘What would they know about Green Onions?’: Musical lifestyles of 1960s London mods | Abstract |
| Robert Wyndham Nicholls | ||
| Vol 3, No 1 (2008) | ‘Where do I begin the story?’: Collective memory, biographical authority and the rock biography | Abstract |
| Robert Strachan | ||
| Vol 9, No 1 (2014) | ‘Where you once belonged’: Class, race and the Liverpool roots of Lennon and McCartney’s songs | Abstract |
| James McGrath | ||
| Vol 8, No 2 (2013) | ‘Why must you criticize?’ Introductory notes and acknowledgements | Abstract |
| Craig Savage | ||
| Vol 4, No 2 (2009) | ‘You never been on a ride like this befo’: Los Angeles, automotive listening, and Dr. Dre’s ‘G-Funk’* | Abstract |
| Justin A. Williams | ||
| Vol 6, No 1/Vol 6, no 2 (2011) | ‘[I] hate girls and emo[tion]s: Negotiating masculinity in grindcore music | Abstract |
| Rosemary Overell | ||
| Vol 7, No 3 (2012) | “Masters of our own destiny”: cultures of preservation at the Victorian Jazz Archive in Melbourne, Australia | Abstract |
| Sarah Baker, Alison Huber | ||
| 1 - 287 of 287 Items | ||
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